Like not a few young women before her–Carla Thomas at Stax was another prime example–Betty Wright was instrumental in establishing a scene/label/genre which proceeded to drop her by the wayside on the way to bigger things. In Wright’s case her decidedly un-hip 1968 hit “Girls Can’t Do What the Guys Do” was a foundation record for the burgeoning Miami scene which, following her 1971 monster hit “Clean Up Woman,” became a major player in 70’s funk, soul and disco. Her label, Alston Records, spun off TK (home of the McCraes–whom the teenage Wright discovered–and KC and the Sunshine Band) and the rest was history. In funk central’s move from Memphis to Miami, Wright was a major player.
She never had another hit as big, but it wasn’t for a lack of making great records, a fate she shared with a lot of fantastic R&B female singers who were her contemporaries: Stacy Lattisaw, Ann Peebles, Candi Staton. One or two shots at the mainstream, then back to the modern chitlin circuit or the gospel highway or a bit of both.
Twenty-five years ago I came up with a home-made mix-taping concept called Radio Free America that eventually turned into about forty home tapes (later reconstructed for CD). The idea was to compile records from every conceivable rock ‘n’ roll genre, as long as they had the beat, the beat, the beat. Those mix-tapes ended up providing me with about as good a definition of rock ‘n’ roll as I’ve ever come up with–whatever the girls on Shindig and Hullabaloo could dance to. Of course, any concept needs to start somewhere and after about two minutes, I knew where those forty tapes had to start:
Betty Wright passed away from cancer on May 10 at the age of 66, mostly forgotten everywhere except Black America…and my house.
I’m learning. This is probably the most perverse album ever released by a major star. Dylan’s previous three albums had all produced Top 40 singles (as would his next).
Despite Harding selling well, it produced no hit singles (though Jimi Hendrix later took “All Along the Watchtower” for a ride up the charts with a Cover from God), and seems to have been conceived as some kind of throwback to the days when nobody could imagine Dylan having hits of his own. You could hear it as the same kind of spitball to his rock and roll audience as “going electric” had been to his folk audience.
I’m a sucker for Dylan’s Rock and Roll Voice, not as much for his Folkie Voice.
Maybe for that reason it took me years to hear this–and this last year for it to become a go to.
Or maybe the times they’ve just a’ changed.
9) Arthur BakerGive in to the Rhythm (1991)
Baker was a big name in the early days of the remix craze. Since I’ve never been into remixes, I’m not sure why or how I came to have this laying around for years. This is the first time I’ve listened to it in ages–maybe the third time ever. Mostly, I like it without loving it, a reaction I often have to music that was made more for dance-floors than headphones. I wonder, though, if a single side ever sunk in, whether it would unlock the key to the rest? As it stands, I’d rather listen to Madonna remixes, which are the only ones I’ve ever found revelatory.
8) Various ArtistsLouisiana Roots: The Jay Miller R&B Legacy (1998)
Jay Miller was an avowed segregationist who nonetheless ran an integrated studio throughout the early years of rock and roll in the Jim Crow South and recorded a number of classic r&b sides of which this is a generous selection. Like a lot of off-shoot projects that acquire a gut-bucket reputation based on the idea that relatively obscure music must be tougher than what reaches the mainstream, this one has more nuance and a lighter touch than you might expect. I can’t say much of it is transcendent but it’s consistently enjoyable and, given the predilections of Miller’s politics, a testimony to mankind’s thoroughgoing perversity. You’d never guess how he felt based on the sounds he made!
7) Harold Melvin and the Blue NotesIf You Don’t Know Me By Now: Best of (1995)
One of the great collections of 70s soul. They could probably sustain one twice as long, but, given the number of long (12″) cuts, this is still generous and a fully realized journey. Of course, Teddy Pendergrass is the main show, but the Blue Notes were also the recipient of some of Gamble and Huff’s most startling arrangements (I wrote about “Wake Up Everybody” here), including “I Miss You” which, in its full version is almost unbearable, coming as it did at the moment when Black America seemed within sight of achieving a level of integration that transcended mere law and politics. You can still hear that possibility whispering close here. Once in a while, you can hear it shouting…and wonder just how it was we missed out on the Promised Land and came up with this unholy mess instead.
6) John LennonLennon Legend: The Very Best of (1997)
Lennon’s first two solo albums stand on their own and his box set isn’t a slog. The album released just before his death remains hard to hear through the haze of murder and grief it seemed designed to disperse. Hence, when I want to hear him without the Beatles, this is usually where I go. It doesn’t all work. As agitprop “Imagine” gets by on its melody (and the fact Lennon had a sense of humor about how far he was from living out its ideals), but his voice is just about all that redeems “Instant Karma” or “Cold Turkey.”
That aside, this is still a fine document of a man caught out of time. Lennon was the Beatle who most believed in all that “All You Need Is Love” stuff. It’s not surprising that he found the 70s a nasty shock, or that–in interviews and on record–he kept reaching back to something he could never quite find. It’s also not a surprise that, with “Nobody Told Me,” a posthumous hit that was his strongest side in years, he seemed to realize he would never find what he was looking for, even if he kept a phalanx of bodyguards and lived to be a hundred.
5) Various ArtistsBrown Eyed Soul: Vols. 1-3 (1997)
I’m counting these as a single entry, because that’s how I listen to this set, one of Rhino’s best, and that’s how I hear it. As a single experience.
“The Sound of East L.A.” is the music Chicano audiences listened to from the late fifties to the early seventies and someone took care in the sequencing and programming for each volume here to reflect an experience that’s of a piece–and is only enhanced when you listen them all over the course of an afternoon or evening or (like me) in the early a.m. How close it is the actual listening experience of those who lived in those communities in the time covered I can’t say (though I haven’t heard anyone complain). But the mix is beguiling–heavy on off-key doo wop, light soul (think Brenton Wood), garage bands (think Cannibal and the Headhunters and Thee Midniters, both local heroes) and slow-groove funk (think the mellow side of War)–and if it catches you in the right mood, you can find yourself wanting to be part of any world that would respond to this music as though it were the key of life.
Well worth tracking down for those who still think about acquiring music in some form more permanent than a microchip.
Pick to Click: “The Town I Live In” where Thee Midniters make like a west coast Rascals…and, for those three minutes at least, concede nothing.
4) Brenda LeeI’m in the Mood for Love: Classic Ballads (1998)
To say Brenda is underrepresented in the CD era is to concede that the sun rises in the east. This collection barely scratches the surface of her greatness as a ballad singer. But it’s what we have, and, to quote Spencer Tracy “what’s there is cherce.” It’s highlighted by killer original versions of “The Crying Game” and “Always on My Mind” and includes cuts from throughout the sixties, arranged out of sequence so that you can’t miss how centered her style was–how much 1968 was connected to 1960 in her voice if nowhere else. A thousand nuances, then, and always unmistakably her. It’s a perfect album and my only complaint is there could and should be another dozen like it.
3) Robert JohnsonThe Complete Recordings: Centennial Collection (2011)
The essence of Robert Johnson at this distance is how much his voice calls into question whether the arrow of defeat and humiliated pride that’s been driven deep in the heart of Black America can ever finally be withdrawn.
And if the question is left only to his voice, the answer will always be no.
That’s as true on a supposed novelty number like “They’re Red Hot” as it is on “Hellhound on My Trail” or “If I Had Possession Over Judgment Day,” which even the nonbelievers can’t pretend are jokes.
2) Various ArtistsThe Disco Box (1999)
A fine overview that isn’t quite what it might have been. Disco can sustain four CDs and then some as a listening experience (as well as a dancing one). But the compilers at Rhino were always historically minded, so a pedestrian cut like Carol Douglas’s “Doctor’s Orders” is bound to take precedence over records that were real grabbers simply because it was a touchstone of the form’s early days and a big hit. There’s a bit more of that here than I’d prefer as there’s no reason for a box of this significance to have any filler.
Even so, it sustains almost in spite of itself. The form was always more than its critics acknowledged so a run of soft spots (usually chant records or metronomic “mood” instrumentals) is inevitably followed by a commensurate handful of irresistible highs. And, often as not, the chant records are as great as “Keep it Comin’ Love” and the instrumentals are as non-metronomic as “Fifth of Beethoven.” Besides, with due respect to Barry White* and the white disco of “Dancing Queen” and “December 1963” (all absent here) and short-shrifting the Bee Gees (maybe understandable given they’re not exactly lacking appreciation elsewhere, including from the Rock and Roll Hall of Fame which has ignored, say, Barry White), the form’s very greatest vocals are here: Vicki Sue Robinson on “Turn the Beat Around,” Candi Staton on “Young Hearts Run Free,” Jimmy Ellis of the Traamps on “Disco Inferno” and Evelyn “Champagne” King on “Shame,” which in its 12″ version, (not presented here–another complaint is they always settled for the single) calls out the same questions Robert Johnson does…and gives back the same responses.
Outside his two big hits, “Frankenstein” and “Free Ride” Edgar’s reach mostly exceeded his grasp. The fine bands he assembled tended to be stronger than his writing–just not quite strong enough to overcome the lack of inspiration in Winter’s own lyrics and singing (Dan Hartman was another story).
Still, he and his group had an interesting niche–a rare white funk band who retained a foothold in the burgeoning concept of Classic Rock.
And kudos to the programmer.
You could do a lot worse than close down a “last ten” with this. Speaking of arrangements….
Til next time!
*NOTE: White is represented as an orchestra leader, but not as a vocalist.
Here’s a nice Sunday treat, an interview with the great Candi Staton about her journey from gospel to soul to disco and back again. It’s a journey only she took (despite the deep impact of gospel on soul music, only a handful of soul singers had actually been professional gospel singers and I can’t think of any others who made it in soul and then transitioned successfully to disco, let alone returned to gospel) and she does a beautiful job here of explaining the distinctions, difficulties and transitions, how the various forms both repel and attract each other. Along the way, she also gives a dissertation on the art of interpreting lyrics. Fitting for the woman who recorded this, in competition with the 12″ versions of Vicki Sue Robinson’s “Turn the Beat Around” and Evelyn “Champagne” King’s “Shame” for the greatest vocal on a disco record….and, like she says, she got it done in half the time.
But the reason the Swampers, and the little Alabama hole in the wall recording studio where they shook the world, were in Muscle Shoals was because Rick Hall, trying to make his mark outside of Memphis, without resorting to Nashville, fetched up there and set up the third point of American music’s great Southern triangle. Rick Hall was Fame Studios and Fame Studios was Rick Hall.
They both ended up being a lot of other things. A whole lot of people contributed. Mostly black artists and mostly white session men with a mix of songwriters, all trying to prove each other to each other in the classic Southern style while George Wallace’s Alabama (where Hall made a point of frequenting local diners in the company of Otis Redding and Wilson Pickett) tried to turn back the clock all around them.
But it was Hall’s vision and once he took hold of it Southern Soul and the world it was born to save were never quite the same.
It was from Hall’s place that the careers of Arthur Alexander and Percy Sledge and Clarence Carter and Joe Tex and Candi Staton were launched and those of Etta James and Aretha Franklin (specifically chasing Sledge’s success) were reborn. And that was just the tip of a mighty iceberg. Shamefully, he died without entering the Rock and Roll Hall of Fame (can’t blame the voters for that one–nods to visionary producers and label owners are in the hands of the Hall’s own committee).
Doesn’t matter. I just got the playlist from the Entrance Commission at the Pearly Gates.
I’m hearing it’s the greatest night ever. Smoked Jerry Wexler’s entry party and they’re swearing even Berry Gordy’s gonna have to run to keep up…(The Wilson Pickett cut is live and not to be missed).
Hope your vision comes all the way true where you are now brother….Because it sure is lying in tatters down here.
10) Various Artists What It Is! Funky Soul and Rare Grooves 1967-1977 (2006)
Deep, yes. But also wider than any but the experienced might suspect before diving in and stroking for the far shore. “Soul Finger” and Aretha’s “Rock Steady” are among the few crossover hits. Big names like Curtis Mayfield and Earth, Wind and Fire, or those like Charles Wright, Lulu, Clarence Carter, Rufus Thomas, Dr. John, who might at least be familiar to fans of the period, are not represented by their best known hits. Most of the rest is really obscure (or was, until this was released as one of Rhino’s last great boxes in 2006).
At four discs, five hours and 91 cuts, this never even comes close to quitting. What might catch the uninitiated by surprise, in a hardcore funk collection, is the range of tempos.Plenty of fast stuff, sure. But who would deny this, where Patti Labelle sings “if I ever lose my BIG mouth, I won’t have to talk anymore” and you can feel the distance between the white man (then called Cat Stevens) who wrote the rest of it and the black woman who added the key word?
The third remarkable album released by Fairport in the Year of our Lord, 1969. This one, following the death of their drummer, Martin Lamble, (a death that had a similar crushing effect to James Honeyman-Scott’s on the Pretenders a generation hence), was almost all Sandy Denny. Numbed by loss, the others decided to follow where she led. That turned out to be a a labyrinth of English folk music from which it could be argued only guitarist Richard Thompson ever fully emerged. This isn’t the first time I listened, but I never really heard it before. Now I’m mini-obsessed. A couple of more spins and I might be up to a post on Denny in ’69, one of the most remarkable years any vocalist ever had. For now, I’m still trying to wrap my mind around it. And I’m taking precautions, because I’ve realized that if you wander too deeply in these woods, you mightn’t find your way out.
8) LatimoreStraighten it Out: The Best of Latimore (1995)
In addition to the two cuts I highlighted earlier in the week (novelties, but deep too), mostly a straightforward set of fine-tuned 70s R&B. A little funk, a little soul, a little big-voiced balladeering, a lot of traditional Love Man, all rendered with a mix of silk and grit that makes for good smiling and nodding music. No small thing these days.
Measure for measure. My favorite album by my favorite modern singer, possessed of a brand of fatalism Sandy Denny might have recognized. What might be forgotten now is that this record almost killed her career when it failed to go gold or platinum like her previous three. Nashville is famously unforgiving of slackers. Somebody is always ready to take your place, especially when you’re either an unrepentant honky tonker or a female, forget both. She pulled a fast one by switching labels and running up a string of awards which was modest next to Reba’s (before) or Miranda’s (after), but astonishing given how uncompromised her voice was. You can hear all of that here. “God Will” is an all time killer and “I Came Straight to You” the best smile in her catalog. But this time around, another one stuck deeper than usual.
6) Tanya TuckerMy Turn (2009)
Her 24th album, the first in six years at the time and still her latest to date. All of which might help explain why, for the first time ever, she sounded relaxed. Relieved of the pressures of stardom for the first time since she was thirteen, she was able to bring something new to a bunch of classic country covers that included signature songs from Hank Williams, Buck Owens, Ray Price, Lefty Frizzell. All the songs her daddy wanted her to sing and nobody, but nobody, ever said she lacked guts.
5) Mel TillisHItsides 1970-1980 (2006)
A beautifully constructed overview of the man at his peak. He broke into Nashville in the sixties with one of those good singer/great writer reps that were common at the time. Unlike almost everyone else who wore the tag he turned out to be a great singer too. Though he wrote only about a third of them, every one of these twenty-five cuts from his golden decade feels lived in.
The boundaries (neither of which he wrote)?
On one end, “Stomp Them Grapes,” which would have done Roger Miller proud. On the other, “Your Body is an Outlaw,” as deep and scary as anything by George Jones, which he sang with his eldest daughter a year after I served fish sticks and french fries to two of her younger sisters at the girls’ camp sponsored by the Southern Baptist Convention in Ridgecrest, North Carolina.
Never let it be said that the South is an uncomplicated place.
(Oh, and he did write: “Detroit City,” “Ruby Don’t Take Your Love to Town,” “Mental Revenge.” Like that.)
4) Candi StatonEvidence: The Complete Fame Records Masters (2011)
The “evidence,” presumably, for the case of someone who should have been a much bigger star. There’s plenty of that here. It’s hard to understand why anyone who looked and sounded as great as Candi Staton–and had so much talent surrounding her–didn’t really cross over until she went disco (helping create the paradox of the soul singer who used disco to reach a wider audience even as more famous soul singers were being wiped out left and right).
If I had to put my finger on it, I’d blame the material, which is good, but lacks that one killer that might have put her in heavy rotation at the pop stations and brought the rest into focus. The biggest exception is “Stand By Your Man” which did cross over (nearly as big as “Young Hearts Run Free”), but, unfortunately, left no trace, having already been defined for purposes of useful narrative by Nashville’s Tammy Wynette. Too bad, because Candi had a great deal more to add to the concept than Hilary Clinton, who stood by her man long enough for him to lock up half of Candi Staton’s neighborhood.
3) Paul Revere & the RaidersThe Complete Columbia Singles (2010)
This wanders about…and intrigues. Over nearly a decade and a half, they developed a theme: Stomp. Then do something else (Brill Building pop maybe? Hot rod music?)
Then Stomp. Then do something else. (Psychedelia maybe? Country rock?)
The essence of the Stomp is on The Essential Ride, a single-disc comp that focuses on the mid-sixties and includes the hits everybody loves, plus “Crisco Party.” In the days when “Louie, Louie” was being investigated by a congressional committee, that one was too obscene even for a garage band B-side (hence is missing here). And if you just want the Stomp, you could go here.
You’d be missing a lot, though. Mark Lindsay was one of the great hardcore rock and roll singers. Everybody knows that (though just how much he sounds like Mitch Ryder before Mitch Ryder on some of the earliest sides here might still startle you). But he was one of the great pop-rock singers, too. And, whatever one thinks of “Indian Reservation” (I love it without reservation, but I know there are serious dissenters), you can also hear how much they had earned the right to a #1 Protest Record because, as protest records go, it’s not a patch on 1966’s “The Great Airplane Strike” (which sounds like it should be the title of a solemn documentary on union organizing and is a good joke) or 1967’s “Do Unto Others” (which sounds like it should be the title of a Lenny Bruce routine and is serious….and lovely).
2) Kendrick LamarGood Kid, M.A.A.D. City (2012)
The World is a Ghetto, two generations on. Except that white critics cut Kendrick all the slack they never gave War, nothing’s changed. That might be why an outsider like me can’t tell whether it’s me or Lamar who feels tired.
One line stuck out, though: Hearing “I’ve never been violent…until I’m with the homies,” made me hear my old daddy quoting his Uncle Sam, speaking to him in the Tennessee hills in the twenties, saying “One boy is one boy. Two boys is half a boy. Three boys is no boy a’tall.”
I wish I could remember if Uncle Sam was the one who told my old daddy stories about chasing cows into the woods to hide them from the Yankees the night they drove old Dixie down.
Funny what you remember and what you don’t.
1) The Roots, Undun (2011)
The World is a Ghetto, two generations on. It even starts with a quote from the Geto Boys’ “Mind Playin’ Tricks on Me,” which, a generation back, was The World is a Ghetto one generation on.
Which leads to the question: Are all rap albums now rewrites of “The World is a Ghetto?” And if nothing’s changed, is it because we can’t change or we won’t?
Explanations below, but, for starters, a salute to the late Ms. Robinson, who died of cancer in 2000 at the age of forty-five (complete with a Paul Williams intro that demonstrates just how far Show Biz hadn’t come while the culture was moving at light speed):
Now to the main point:
A few days ago, Terry Teachout posted a link to his current Wall street Journal column in which he opines on the “limits” of popular art. You can read the whole thing here but the gist is about what you would expect from a cultural conservative and he’s certainly not entirely wrong.
But it’s funny that no one ever seems to say much about the limits of High Art. I mean, one reason so-called popular art has taken up so much space in the Post-War era is that High Art has been failing so miserably.
And, of course, I spend a lot of time around here arguing that the point of “culture” at any level called “art” is to engage. That means history, politics, sex, religion, love, hate, war, poverty and so on and so on and skooby-dooby-doo.
See, there’s Popular Art giving me a voice. Engaging.
Believe me, I’d be very happy if what passes for High Art in the modern age managed to do the same.
Now, I didn’t want to stack the deck, so rather than respond to the ideas in Teachout’s essay by specifically seeking the safest available high ground (something like the Rolling Stones in 1969, or Robert Johnson in 1937, or Raymond Chandler in 1952, the first and last of those being things Teachout has evinced a limited understanding of in the past which suggests he probably hasn’t quite thought this thing all the way through) I decided I would just weigh in on the next thing that happened to pop up in the course of my day…see how far that would take me.
So, from a few nights ago, when the “next thing” happened to be a mix disc I had just assembled as a copy of an old mix tape (Volume Fourteen of a twenty volume set, and, please, believe me when I say, social relevance was the furthest thing from my mind at the point of original assembly, unless “social relevance” means imagining just how far my Theory of Shindig and Hullabaloo Dance could stretch), here goes (original recording dates in parens):
Soul Survivors “Expressway to Your Heart” (1967)–Epochal black producers (Gamble and Huff) have their first hit guiding a white group imitating a white group imitating a black group while Philly International was still a gleam in somebody’s eye.
Young Rascals “I Ain’t Gonna Eat Out My Heart Anymore” (1965)–The specific group the Soul Survivors were imitating. They happened to be white boys signed to a record label owned by white men who specialized in selling black music to, first, Black America and, later, White America as well, but weren’t above selling white acts to black people or white acts to white people if they could smell a profit. Would have made Beethoven’s head spin, I tell you, but they made it look easy.
Candi Staton “Young Hearts Run Free” (1976)–An exemplar of one of mid-period disco’s deeply mixed messages. These days, slick magazines are full of articles with titles like “Can Women Really Have It All.” Then as now, the answer was Yes and No. Sorry but I’d rather listen to Ms. Staton work out the ambiguities than read what our modern Platos have to say on the subject.
Wilson Pickett “Don’t Let the Green Grass Fool You” (1970)–A black man, who sounds like he knows he’s caught in a trap, begs–and begs, and begs–for a black woman not to leave him at the first historical moment when it was possible for her to even think about doing so.
Abba “SOS” (1974)–Swedish woman sings “I tried to reach for you but you had closed your mind” back to the man who wrote the lines for her to sing. He happened to also be her husband at the time. No, really.
John Waite “Missing You” (1984)–Okay, this is just a nice, pop-obsessive record about pretending not to miss someone who kicked your heart to pieces and who you would take back in a second if they would have you. Nothing High Art couldn’t handle in other words.
Cher “Gypsies, Tramps and Thieves” (1971)–A major star, singing in the voice of one who never got the chance, spits back at everyone who ever spit on her.
Cher “Half Breed” (1973)–Ditto. Only more so.
Styx “Too Much Time on My Hands” (1981)–I’m actually not sure what this is about. Possibly unemployment but I’m not gonna stake my reputation on it.
Roxette “The Look” (1988)–Pure confection. No discernible higher meaning except it was the-best-Prince-record-made-by-somebody-other-than-Prince, yaddah, yaddah, yaddah.
The Who “Who Are You” (1977)–English rockers lament/celebrate their escape from the lives the system had planned for them. Self-destruction caught up with the drummer shortly thereafter. Whether this record would still sound like it’s chasing him if he’d somehow never been caught is one of those nice existential questions that should be mulled in Philosophy 101 classes everywhere….but probably isn’t.
AC/DC “Get It Hot” (1979)–A salute to rock and roll. Good topic. Well played.
Heart “Straight On” (1978)–An epic blues played, sung, conceived and executed by seventies-era white people from the Pacific Northwest (who many sardonics of ill repute believe are the whitest people who have ever lived so go ahead and have your snicker) and also a late-feminist sequel to the Shangri-Las’ proto-feminist “Give Him a Great Big Kiss” that demonstrates just how far the earth had turned in a decade. If there’s been a novel or play that did as much, I missed it. If I happen to run into one somewhere, I bet I’ll have the bring up the fact that it doesn’t get the job completely done in four minutes.
Randy Newman “I Love LA” (1982)–Love and mockery, joined at the hip and permanently reinforcing each other.
Randy Newman “It’s Money That Matters” (1988)–The History of America in the New Gilded Age. (The ethics of which were so thoroughly and seductively appalling/appealing that, unlike the first Gilded Age, they have survived the inevitable economic bust. More than one in fact. Goodbye us, in other words. Thanks Randy!)
Jackie Wilson “(Your Love Keeps Lifting Me) Higher and Higher” (1967)–A call-and-response Top Ten hit and permanent radio staple that perfectly captures the last historical moment when it seemed possible for the Civil Rights movement to become a lasting social triumph as opposed to a purely legalistic one.
Steve Miller Band (1976) “RockN’ Me”–A rocker’s ode…whether to groupies or to the One Left at Home, I’ve never been quite certain.
Huey Lewis and the News (1983) “Heart of Rock and Roll”–A promise that rock and roll would keep on a goin’. Naturally it was already a bit ill, though a few years from being terminal. The song works because it is completely devoid of irony, self-awareness or any other complicating factor. Well that plus it has a good beat and you can dance to it.
Standells “Dirty Water” (1965)–The eternal, existential struggle between Puritanism and its discontents, distilled to one hundred and sixty-eight perfect seconds.
Blues Magoos “We Ain’t Got Nothin’ Yet” (1966)–“Nothing can hold us, nothing can keep us down.” I bet High Art never manages to go anywhere that line doesn’t when it finally does work up its nerve and get around to explaining either the successes or the failures of “the Sixties.”
Tommy Tutone “867-5309/Jenny” (1981)–Stalker pleads with the Object of his Affection not to change her phone number. In other words, 7,000 guest shots on the Law and Order franchise, explained well ahead of time.
The Jacksons “Enjoy Yourself” (1976)–Or, as the full line goes, “Enjoy yourself, with me…You better enjoy yourself.” Question for the class: Whose enjoyment is more important? His or hers? Hey, that’s Michael on the lead. Does that make it any clearer? Or the “better” any more disturbing?
Vicki Sue Robinson “Turn the Beat Around” 12-inch Version (1976)–Broadway chanteuse speaks in tongues over a History of Poly-rhythms so complete it proves conclusively the inherent funkiness of the flute. In direct response to Terry’s essay, I consider this aiming very high indeed. (And just as an aside, I’ve never quite been able to forgive Gloria Estefan for later deciphering the lyrics. And I’ve really, really tried. And just as another aside: I once heard a music critic explain the superiority of seventies music over sixties music–and express complete contempt for anyone who might have even thought of disagreeing with him–by using the name of this record, plus the words “Come on!” as his entire argument. As an unabashed lover of the music of both decades, I’m an agnostic in that particular debate, but I’ll just say I did know what he meant.)
Ohio Players “FOPP” (1975)– “The rich can Fopp and, uh, so can the po’, you can Fopp until your ninety-fo’” Hey, it took a while (decades or centuries depending on when you prefer to start counting), but when Democracy finally started producing Manifestos like this, the Soviets were basically toast, regardless of who we elected President.
Rick James “Superfreak Pt 1″ (1981)–The groupie as Goddess. No ambiguity about this one.
The Doobie Brothers “China Grove” (1973)–Flannery O’Connor weirdness with a slightly better sense of rhythm and no room for the abiding contempt of the human species that intellectuals of all stripes seem to find so comforting.
Of course, each of these responses amounts to only one of several possible responses. No point in making High Art’s head spin trying to keep up.
BTW: High Art, I feel like I should give you a hug. You lost this round, but a week earlier and you might have come up against Volume Twelve. Bad, that. Would have meant dealing with “Kung Fu Fighting” and “Brother Louie.”